In an industry typically founded upon metrics, Aamir Khan is again stepping outside of the boxes. His film, Sitaare Zameen Par, is getting attention not only for its narrative or potential Bollywood star power but also because of the aggressive and unorthodox rollout it is receiving as a theatrical. The film premieres in theaters on June 20, and everyone is observing it take shape.

Directed by RS Prasanna, who created Shubh Mangal Saavdhan, the sports comedy-drama is being labeled a spiritual sequel to Aamir’s classic Taare Zameen Par (2007), but it will not only be an emotional reckoning; it will be a balanced moment of emotions, humor, competition, and the triumph of the underdog. In classic Aamir fashion, the man behind the film is making as much news off-screen as he is on it.

One of the biggest surprises leading up to the release has been Aamir’s refusal of a ₹120 crore offer from a leading OTT platform, reportedly Amazon Prime Video. In a digital-first era where films often premiere online just weeks after release, this decision raised eyebrows across the industry.

According to trade analyst Komal Nahta, this wasn’t a move to negotiate a better deal. A conscious attempt to change the consumption of film. Aamir has shared his uneasiness and the troublesome nature of the model, citing the eight-week period between theatrical and OTT—it is a flawed model as it underplays the theater experience. By giving Sitaare Zameen Par a full theatrical window without an early streaming window, Aamir seeks to safely find ways to lead audiences back to the cinema with tangible experiences, perhaps even trickling down to shift how filmmakers perceive their OTT timelines.

Another significant decision is related to ticket prices. While most big films go for blockbuster pricing, inflating rates to cash in on opening weekend demand, Sitaare Zameen Par will opt for popular weekend pricing instead. This model keeps ticket pricing slightly above standard pricing but significantly below exorbitant pricing.

This pricing model aligns with Aamir’s intention to ensure that the film stays accessible. At least for now, this is nice to see at a time when expensive ticket prices often drive families and students to stay away from theaters and to direct their entertainment budgets elsewhere.

Breaking another common trend, the film’s distributors have requested that no shows begin before 9:00 am. While early morning shows, sometimes starting as early as 6:00 am, have become popular for major releases, Aamir has intentionally avoided this route. The point is to eliminate artificial hype and enable audiences to engage with the film at more appropriate times.

In doing so, Aamir is placing trust in the content of the film instead of high opening-day numbers.

Perhaps the most meticulously planned aspect of the release is the strict screen allocation requirement. The film is going wide, but with specific conditions for exhibitors.

Single-screen cinemas must dedicate all their shows exclusively to Sitaare Zameen Par. Two-screen theaters are required to allot at least eight shows per day.

Multiplexes must follow this tiered model:

• 3 screens: 11 shows

• 4 screens: 14 shows

• 5 screens: 16 shows

• 6 screens: 19 shows

• 7 screens: 22 shows

• 8 screens: 25 shows

• 9 screens: 28 shows

• 10 or more screens: 31 shows per day

This commitment to 31 shows makes sure that the film receives the highest visibility at the locations, especially in urban markets and semi-urban areas. It also reinforces to audiences and exhibitor partners that Aamir believes in the product and is committed to showing it on every screen possible.

With Sitaare Zameen Par, Aamir Khan is not just releasing a film. He is taking a stand. By refusing a multi-million-dollar OTT agreement, insisting on an affordable price to see the movie in theaters, eliminating super early showtimes, and asking exhibitors to commit to showing his film in theaters, he is demonstrating that content can coexist with conscience. If the film is a box-office hit, these paths could create opportunities for the next generation of theatrical-first filmmakers. If it fails, it will remain a courageous step to protect the character of cinema.